“Unhappy Endings” explores dynamics of novelistic closure by examining Victorian texts that come to a halt in a way that invites subsequent continuation. Each chapter of this dissertation confronts a different fact pattern: a different kind of incompletion and subsequent continuation. “Unhappy Endings” investigates texts left explicitly unfinished, texts left ambiguously unfinished, the impact of the Victorian serial form on the concept of “finishedness,” and the perceived kinds of finishedness, of a text. These Victorian texts that question the concept of finishedness are taken up and continued in several different ways: continued by the original author, by an author’s family member, by an editor or publisher, by some other author or writer, or even by the reader-public. Thus, as the factual circumstances that create the “unfinished” and “continued” status of my exemplar texts vary from chapter to chapter, the working standard for what qualifies as “unfinished” and “continued” necessarily alters accordingly. The following questions are inherent in my focus here on continuation and completion: What is an ending? What is “whole”? What makes a whole complete? Must a novel have a discernible ending to be complete? To be a whole? What can we learn when a novel, abandoned for whatever reason by one author, is “continued” and completed by another author? I use close reading, digital humanities, and biographical criticism to identify the ways that literature of the Victorian era was, and still is, particularly susceptible to continuation. This continued susceptibility paves the way, perhaps, for Victorian literature’s sustained impact on modern literature and media.

No description available.

Made available in DSpace on 2016-10-13T14:10:41Z (GMT). No. of bitstreams: 1 WALFREDO R CAMPOS.pdf: 1548904 bytes, checksum: 42ffd612689c7bb3a8800015615105e2 (MD5) Previous issue date: 2013-03-21 / This study aims to analyze the representations of work and consumption present in the narratives of overcoming bodily traumas, which were part of the collective of life stories of "ordinary people" included at the end of each chapter of the soap opera Viver a Vida (Rede Globo, 2010) and made available on the website Portal da Superação. The theoretical framework that supports this research is based in discussions about the relationship between communication, work and consumption, as well as sociocultural and media contexts on which such statements were made. The methodology applied to the research is the analysis of the discursive approach, combined with the visual analysis and theories of narrative. / Este estudo tem por objetivo analisar as representações de trabalho e de consumo presentes nas narrativas de superação de traumas corporais, que fizeram parte do conjunto de histórias de vida de pessoas comuns apresentadas ao final de cada capítulo da telenovela Viver a Vida (Rede Globo, 2010) e disponibilizadas no Portal da Superação. O quadro teórico que dá suporte a esta pesquisa é baseado nas discussões acerca das relações entre a comunicação, o trabalho e o consumo, assim como do contexto sociocultural e midiático em que tais discursos foram produzidos. Como metodologia aplicada ao corpus da pesquisa, utiliza-se da análise do discurso de linha francesa, combinada com a análise audiovisual e teorias sobre a narrativa.

Zugl.: Karlsruhe, Universiẗat, Diss., 2004.

Le présent travail concerne les huit romans du cycle Les habits noirs de Paul Féval : Les habits noirs, Cœur d’acier, La rue de Jérusalem, L’arme invisible, Maman Léo, L’avaleur de sabre, Les compagnons du trésor, La bande cadet. Si nous avons choisi d’étudier la série Les habits noirs de Paul Féval, c’est parce que nous sommes convaincue que ce cycle de romans sollicite la collaboration du lecteur. Nous n’avons pas la prétention d’affirmer que nous allons épuiser tout le potentiel interprétatif que recèlent ces romans mais nous pensons au contraire que beaucoup de choses restent à dire. Les quelques études menées dans ce travail ne sont qu’une contribution infime dans le vaste champ de la littérature et plus précisément dans la critique littéraire. Le XIXe siècle en France est incontestablement l’ère de l’essor de bien des innovations. Tous les paramètres de l’activité physique et intellectuelle vont connaître des bouleversements incommensurables. Des domaines technologiques, scientifiques en passant par ceux des humanités, aucun secteur ne peut se targuer de n’avoir pas subi quelques chamboulements l’ayant profondément modifié. Paul Féval est souvent considéré comme l’un des grands romanciers populaires du XIXe siècle : contes, nouvelles, livres d’histoire, romans autobiographiques, fantastiques, historiques, policiers, sociaux, pièces de théâtre ; journaliste, épistolier, conférencier. Notre travail sur Les habits noirs est consacré à tout ce qui se rapporte à la formation humaine et intellectuelle chez Paul Féval. Notre problématique est de savoir si Les habits noirs de Paul Féval renferme les caractéristiques principales qui déterminent le roman feuilleton au XIXe siècle. / Our Thesis is based on the eight novels from the Paul Féval’s cycle Les habits noirs (The black clothes): Les habits noirs, Cœur d’acier, La rue de Jérusalem, L’arme invisible, Maman Léo, L’avaleur de sabre, Les compagnons du trésor, La bande cadet. We decided to study the series Les habits noirs of Paul Féval because we are convinced that this cycle of novels requests the collaboration of the reader. We do not claim to exhaust all the interpretative potential which these novels conceal, but we think in contrast that many things remain to be said. The studies undertaken in our work are only one contribution in the field of literature, and more precisely in literary criticism. The 19th Century in France is obviously the era of the rise of many innovations. All the fields of technological and intellectual activity will know important changes. Technological and scientific fields, as well as Humanities, have known changes that deeply modified them. Paul Féval is often considered as one of the most popular novelists of the 19th Century: he wrote tales, short stories, books of history, autobiographical, fantastic, historical, social, epistolary, crime novels, plays; he was also journalist and lecturer. Our work is devoted to all that refers to the human and intellectual formation in Paul Féval’s Les habits noirs. Our issue is to know if Les habits noirs contains the main characteristics of the 19th Century serial novels.

La presse française du XIXe siècle a été marquée par une conjugaison du journalisme avec la littérature qui se déclinait en plusieurs types de rubriques et genres – de la chronique de variétés aux romans-feuilletons, des interviews-enquêtes aux grands récits de voyages et chroniques-reportages. Tout se passait dans le bas de page des journaux, qui devenait un espace d’expérimentation pour les gens de lettres, qui prêtaient alors leurs plumes aux quotidiens. Or, on retrouve ces mêmes caractéristiques dans les journaux brésiliens de cette époque. En effet, des innovations de la presse française étaient presque simultanément adoptées par des journaux brésiliens qui les acclimataient, les adaptaient, les transformaient et les réinventaient. Cette recherche s’intéresse à investiguer, à partir de l’étude de la vie et de l’oeuvre de deux pairs d’écrivains et journalistes, français et brésiliens, comment se sont établis ces rapports et ces flux de transferts culturels entre les deux pays. Eugène Sue (1804-1857) et José de Alencar (1829-1877), Jules Huret (1863-1914) et João do Rio (1881-1921), ont été des responsables des innovations dans la presse de leurs temps, et jouaient aussi – parfois à leur insu – le rôle de médiateurs culturels dans ces processus d’emprunts et d’assimilations, entre inspiration et création. À partir de la narrative de leurs biographies croisées, ce travail essaie de comprendre également comment s’est développé un genre spécifique, la chronique (crônica, en portugais), héritière de ce journalisme hybride de littérature du XIXe siècle, et qui demeure présent dans les principaux quotidiens du Brésil jusqu’à aujourd’hui. / The French press of the 19th century is characterized by a combination of journalism and literature that gave rise to various genres and news sections – from the weekly-magazine type journalism to serialized fiction, from interviews to travel reportage and serialized news stories. All this action was happening in the bottom part of newspaper pages, which had been turned into experimental laboratories for the literati who lent their quills to those periodicals. Those same characteristics can be found in Brazilian newspapers of the time. Indeed, innovations in French periodicals were almost simultaneously adopted by Brazilian newspapers, which in turn would adjust, adapt, transform and reinvent them. This research will focus on the life and work of two pairs of French and Brazilian writers and journalists in order to investigate how those relationships and flows of cultural transfers were established between the two countries. Eugène Sue (1804-1857) and José de Alencar (1829-1877), Jules Huret (1863-1914) and João do Rio (1881-1921) were responsible for innovations in the press of their times and, even if unaware, also played the role of cultural mediators in processes of assimilation and borrowing, between inspiration and creation. Taking the narrative of their crossed biographies as a starting point, this work also seeks to understand the development of a specific genre, the chronicle (crônica in Portuguese), a tributary to this 19th century hybrid form of journalism and literature which is present in the main Brazilian newspapers to date.

Cette thèse est l’étude d’une sélection d’œuvres littéraires mexicaines et françaises concernant les évènements historiques de l’Intervention française au Mexique (1862-1867) et du Second Empire Mexicain (1864-1867). Ces œuvres s’étalent entre le XIXe et le XXIe siècle et ont été sélectionnés pour leurs réflexions poétiques et politiques exemplaires et d’autre part parce qu’elles ont contribuées à la construction d’une iconographie culturelle et identitaire mexicaine. Les genres romanesque et théâtral ont été sélectionnés pour pouvoir établir une étude comparative diachronique. Le choix des œuvres et des auteurs a été établi en fonction du traitement de l’Intervention française et de leur importance. Les œuvres analysées correspondent au sous-genre du roman-feuilleton du XIXe siècle avec, pour la littérature française, Benito Vázquez (1869) de Lucien Biart et Doña Flor (1877) de Gustave Aimard et, pour la littérature mexicaine, Clemencia (1869) de Manuel Altamirano et El Cerro de las Campanas (1868) de Juan Mateos. Les pièces de théâtre Corona de Sombra (1943) de Rodolfo Usigli et Charlotte et Maximilien (1945) de Maurice Rostand sont traitées de manière comparative et la pièce El Tuerto es Rey (1970) de Carlos Fuentes est analysée de manière complémentaire. Quant aux manifestations littéraires historiques plus contemporaines, nous incluons Noticias del Imperio (1987) de Fernando del Paso et Yo, el francés de Jean Meyer (2002). Cet ensemble propose une analyse comparative, linguistique, sémiotique et littéraire des œuvres citées. Il invite à une réflexion approfondie sur l’interprétation que la littérature ou l’égo-histoire ont proposé de ce conflit, un conflit armé et politique dont la mémoire a traversé l’histoire et les productions littéraires mexicaines et françaises. / In this doctoral dissertation, we are studying a selection of both Mexican and French literary works related to the historic events of the Second French Intervention in Mexico (1862-1867) and of the Second Mexican Empire (1864-1867). This body of works has been published between the XIXth and the XXIth century and has been selected, both because their poetic and political thoughts are emblematic of this period and because they have contributed to the construction of a Mexican cultural and identity iconography. We have decided to select the fiction and theatrical genres, to carry out a comparative and diachronic analysis. The decision of which literary works and authors to include has been made based on how both the French Intervention and the way it has been depicted in literature, have been dealt with in particular in each literary work and each author we considered to studied. The studied novels belong to the sub-genre of serialized fiction in the XIXth century with, on the French side, Benito Vázquez (1869) by Lucien Biart and Doña Flor (1877) by Gustave Aimard and, on the Mexican side, Clemencia (1869) by Manuel Altamirano and El Cerro de las Campanas (1868) by Juan Mateos. As far as theatre plays are concerned, we have carried out a comparative study of both Corona de Sombra (1943) by Rodolfo Usigli and Charlotte et Maximilien (1945) by Maurice Rostand. We have completed our analysis with a complementary study of El Tuerto es Rey (1970) by Carlos Fuentes. Regarding more contemporaneous historic and literary creations, we chose to include Noticias del Imperio (1987) by Fernando del Paso and Yo, el francés by Jean Meyer (2002). This corpus allows to carry out a comparative, linguistic, semiotic and literary analysis of afore-mentioned works. Such analysis calls for a thorough reflection on the interpretation of conflict, an armed and political conflict which influenced both History and Mexican and French literary productions.